ABOUTYPE by sarahberger

ABOU T YPE

I NT RO DU C TI ON

Various websites all sat that typography is something different. But what is typography? What is Typography to me? Typography is a way to give words emotion, expression, and action. Sometimes. simply stating what you want to say is not enough and words need to be animated, warped, distorted, pulled. Typography is a way of expression. It is a way to take simple fonts and give them meaning, not only for us designers, but for those people who want to view our work. Type speaks loudly. Typography surrounds us. Even if we are not designers, there are fonts that speak to us, words that mean things that are unexplainable to others. We make these words speak. We as designers show the world how powerful words can be. Simply with type. Simply with fonts. Simply with passion for text. Advertisments, commercials, billboards, television...all of these things are seen within steps of each other. It is our job as designers to make these things beautiful. It is out job as designers to show the population what words can do. What typography can do.

Paul Rand

to be

Don始t try

original

just try to be good.

TABLE OF CONTENTS

Technical timeline anatomy type & color alignment layout & readability the modular grid type on a path & pen tool

20-27 28-29 30-31 32-33 34-35 36-37

word as image oldstyle bauhaus de stijl art nouveau swiss

38-39 40-41 42-43

50 fonts colophon journal

Index

Creative

4-5 6-7 8-9 10-11 12-13 14-15 16-17

Te c h n i c a l

LL WE DE A

S N DUFFY O IS GIVING A BIG d

Cap height

ic al .L

de Si ring a be

Caption-7 over 12 univers 75

Text- 10 over 12 univers 75

Headline-14 over 16 Univers 75

AA A

DOG-AND-PONY SHOW TO ANYONE WHO WANTS TO

LISTEN. HE’S OUT ON THE STREETS TRYING

TO MAKE REVOLUTION ON A DAILY BASIS. HE WONDERS WHY ARE WE TRYING TO REPLACE PERFECTLY REAL-LIFE de ng i S ri a be

de Si ring a be

N IO

ED DR AU GH

INGT

e lin e s Ba

BOD

Side bearing

N IO

E D idDe R gA U S rin G H a be

NGT I D

de Si ring a be

Technical. Layout and readability.

LD MI

Side bearing

EST

Side bearing

Baseline

S N O

THE CL ASSIC CAS K C O N

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Th ed igh ed. or wider the column more C d T e h ileading is preferred. ri t h e im t o lin ex IF l l IC f , s ow r p r us T wider the column more t eC A is preferred. ex e ap - 1 leading ig Layout—flush right or 14 tr he TI 0 ti am rif s s ht act O ov ov a o a N nLayout—flush impacts leading is preferred. te centered i left nd or l er er right or -7 S pl an ize - s s ef w n-readability. 16 O 12 ov N es d id han lea co t-h The righter centered U un Th left or impacts Layout—flush right or T . H e l an 12 iv niv d. dpage IS a e size in um shows le rhand d un ers ers The rightt L I readability. th nd le h l n g n serif left or centered impacts ef ay adand p iv 75 75 and e weight, r e le ft er t in co ge go wi ag s hand page shows size or ou sans ri igh co ad -ha e 7 n serif examples. g d r h readability. The rightl 5 t e u e t sa gh t o lu in nd ha ad ce —f is p m ral and h and weight, serif and ns t-h r mn g g p n l n a hand page shows size an nd bi ter ush ref m th ill Th se an left m o h age T sans serif examples. us e d pa lity ed r er or e ri d p o or a i s an he i r and weight, serif and f an we ge . i g e e a tr le ex ag r ce e lend- llus th d lef s ig s Th mp ht d. in nd ate ft-h am e n ad in- tr o e s h ri e c lea t-h a sans serif examples. h s t r er t, o w -ha lea pl sho ere in hanate co and w rig cts ri ght ol din and if id s d n g s e s g u h w e l d ex r s. s i is d. th sa ht or m g t p le er d. ing um pa am if a size ns -h le n go ag si mp pr In at La ad the In n ge m a z e n g f ge go e h pl d w le se nd t e ac fe e co yo in Th or an il c h id f e g o n a n t l r l o t upage 10 over 10 univers 75 s. left-hand if pa r e nd s rre er um d- us th lu er an that The column width is illustrates an e l t o r c l r — Fr d e a t e a i e r m e d e g e n p r n d om w a l x l a f f a c th . a n e and leading go hand-in-hand. In general the wider r h n d o a t l t d t h d e l ei a La h w v a m sh te in a tes a le n ush efe m he gh b y e id ri e c ead ha tf Fl er 1 Layout—flush pl o re g nd t the column preferred. an nd bmore ili ter leading rr ois us g n ili ou w th to 2, t r es w d r h i . p e h t ri ht olu ing d d e , i i s e ty t— d ri 10 g y s im p In at d right or left or centered impacts readability. The a d s l s gh o m p . gh ef . w h e g . a . e s a o g sa t, im t size and weight, Thshows t: ns ei page e r ri Th fl r vserif iz pa ref ge co n ge o er right-hand and fl o 1 f u s ns t-ha le e g u p 0 m e l r h 14 se h ho sh an e sh o 10 sans serif an cts err ner um ri ac examples. t, se nd ft o or an illu un ver ri r e w d g a t o i n r g d e d d s f ve iv r ri ht 1 -i st l w ead . L l th w ex ser s s htr c f pa , c ers 0, 10 10 ei a a e id ex ge en ead n-h rate en e am if a ize y 7 u g t b t am s te in an s 5. 10 over 14 univers 75 nleft-hand er ( TYPE SPECIFIC ht ili ou wid h nd illustrates that column width The page iv p e r h g t d e d le , s ty t— e le pl ow ed rs is . I hat s r . PAGE ) f 7 e e and leading go hand-in-hand. In general the wider . im p n ra t-h 5 s. s ri Th flu re ge co lt a f si 10 p s e Headline-14 over l a h the column more leading is preferred. Layout—flush ze ac fe ne u ce he nd ov nd er an ts rre ra mn d nte w pa Text- 10 over 12 right or left or centered impacts readability. The 14 sa r id g d re d. l th w un id w ad La ns ed er e i Caption-7 over 1 e iv right-hand page shows size and weight, serif and ei t a er se im the llus gh bi you wid h s 7 ri pa c tr 5sans serif examples. t, lity t— er f c o a d se . T fl ex ts lu te pa u 1 ri am re m s t 0 f he sh de ge ov an 10 over 14 univers 75 pl ad n m ha The left-hand page illustrates that column width er r ill t e a d 14 im the us s. bi or co u e lit MARK and leading go hand-in-hand. InMARK general the wider ni l DEpa c tra TRADE ve y. lea um o f rs ex cts lumtes Th di n 75 the column more leading is preferred. Layout—flush am re n th e ng wi ri is dt pl ad m at right or left or centered impacts readability. The gh p h es ab or co t- re an st ili e . l u h right-hand page shows size and weight, serif and ra ty le m an fer d l The left-hand page The left-hand page The leftt . T ad n d re ea um es in w illustrates column width h d d p sans serif examples. illustrates column width illustrates c e g id ag . L in n tha ri is th and leading go hande ay g g gh p a and leading go handda mo t c s and leadi ho ou o in-hand. In general the t- re nd bi re olu ha fe t— ha in-hand. In general the w lit l m l wider the column more n e r e n s in-hand. In TRADITIONAL TRADITIONAL f y. a n d red ad si lus d-i wider the column more leading is preferred. pa . in Th din w z n h e CASK CASK wider the c g id ge La g e over 10 univers 75 an rig-ha leading preferred. Layout—flush right orgo hand-in-hand. The left-hand page illustrates that column width and leading In is 10 ri is th sh you go d ht nd gh p a left or centered impacts leading is general the wider the column more leading is preferred. Layout—flush right or w o .I Layout—flush right or ow t— ha t- ref nd ei r n nd ha e readability. The rightl left or centered impacts readability. The right-hand page shows size and weight, f s g left or centered impacts Layout—fl nd rre ead ht 10 si lus -in hand page shows size ze h -h serif S and sans serif examples. , ov TR ANGWAYS BREWERY in NGWAYS BREWERY pa d. readability. The righte r left or cent an ig an r and weight, serif and ge La g g 10 y d ht d. hand page shows size un sh ou o h sans serif examples. w o In readabilit iv ei r ow t— an er over 14and univers 75 The left-hand page illustrates that column width and leading go hand-in-hand. In 10serif and weight, s g 1 d f 7 ht s 0 hand page 5 ov si lus -in, general the wider the column more leading is preferred. Layout—flush right orserif examples. sans er ze h ha 14 r and weig an ig nd left or centered impacts readability. The right-hand page shows size and weight, un . d ht iv

PAGE )

DIG OR g A f WE JOE Te c

A AA

FROM THE NORTH

1 7 78

Side bearing

1 7 78

Side bearing

L D FROM THE NORTH

Side bearing

30 A r t n o u

r n a t i

a l s t

yle

nal s t y le

0_t oda

a t i o

199

Bau

50_ tod

today

1950_

1980_ today

Urba

1990_

toda

1930

Inte

1920_

1919_ 1933

der n

deco

1 9 1 9_1 9

oda y

33 I n t e

0_t

tru

st i j l 1917_ 1 930

o s t mo

198

Cons

90 5

o s t m o

de rn

_193

TIMELINE

192 0_1

1890_ 1

Art

914

veau

t d ec o

_16

18 90_ 19 0 5

_160

tru v

1450

is m c t1i9 v 1 4 i s m 1

e a u

193 0 A r t n o

tyle

193 0 D e s t

tyl

cti

Olds

ij l 191 7

VOX

In typography, the Vox-ATypl classification makes it possible to classify typefaces into eleven general classes. It was devised by Maximilien Vox in 1954.

Tr a n s

CEN

RA O GA

BEMB

MON

ition

ry u t n e c h t 15

ni Huma

JENS TA U R

ralde

al M S RO

R ASKE AN B

VILL

18th

centu

Dido

BODO

g r o t es

ERS

Geom

etric

IV A UN

EURO

STYL

TUR E FU

Huma

nist

sans

GIL L MA

RAL

hic

ETIC

OPTI

ALB

MIST

Grap

H E LV

SANS

yphic

AJ S TR ERTU

cript

E L LY

I AT ENGU

que

ALBA NI W

Neo

anist

Gro

S GO

ury

Mech A

NEW

TH E GO

TIME

UM ROCK

SCAL WELL

e tesqu

TRAD THIC

t n e c 20th

STEN

CIL

ANATOMY

An understanding of the letterform allows us to describe its characteristics in detail.

OO a Bf N g su p Q m bk

Descriptions trade gothic

Inclined stress

Monoline stroke width

Vertical stress

Serif

Ball

Bar

Terminal

Stroke

Spine

Ear

Shoulder

Finial

Terminal

Bowl

Ascender

Counter

Tail

Bar

Descender

Link

Loop

Link

Letters adobe garamond

Contrasting stroke widths

Spur

Stem

Arm Leg Foot

The bottom of this page shows how type sits on a line.

Apex

Bar

Bracket

Cap height

Baseline

Af g Side bearing

Side bearing

Body clearance

X-height Body height

Body clearance

Side bearing

ALIGNMENT Right garamond Left big caslon medium

Alignment

This graphic illustrates how the strongest vertical or horizontal stroke dictating the visual alignment. Garamond regular.

DIG ORE WET

Joe Duffy

This is an example of type aligned visually, not mechanically, and is adjusted line-by-line. Big caslon medium.

JOE DUFFY

IS GIVING A BIG DOG-AND-PONY SHOW TO ANYONE WHO WANTS TO LISTEN. HE’S OUT ON THE STREETS TRYING TO MAKE REVOLUTION ON A DAILY BASIS. HE WONDERS WHY ARE WE TRYING TO REPLACE PERFECTLY REAL-LIFE

ACTIVITIES WITH TWO-DIMENSIONAL, LOWER BANDWIDTH ACTIVITIES?

IT MAKES YOU NERVOUS!

Left helvetica bold

Right helvetica bold

TYPE & COLOR

Black & white

This image demonstrates how letters look on dark and light backgrounds. White letters on a black or dark background appear larger than black letters on white or a light background.

Cmyk

This image demonstrates how readability is made easier when there is a big contrast between the color of the letter forms and the color of the background. A light ,bright background, like yellow and a white or light letter form is difficult to read.

L AY O U T & READABILITY The left-hand page illustrates column width and leading go handin-hand. In general the wider the column more leading is preferred. Layout—flush right or left or centered impacts readability. The righthand page shows size and weight, serif and sans serif examples.

Right and left Text_ 10 over 12 univers 75 Caption_ 7 over 12 univers 75

The left-hand page illustrates column width and leading go handin-hand. In general the wider the column more leading is preferred. Layout—flush right or left or centered impacts readability. The righthand page shows size and weight, serif and sans serif examples.

The left-hand page illustrates that column width and leading go hand-in-hand. In general the wider the column more leading is preferred. Layout—flush right or left or centered impacts readability. The right-hand page shows size and weight, serif and sans serif examples.

10 over 10 univers 75

10 over 14 univers 75

From left to right: 10 over 10, 10 over 12, 10 over 14 universe 75. Flush left, flush right, centered

10 over 10 univers 75

10 over 14 univers 75

The left-hand page illustrates column width and leading go hand-in-hand. In general the wider the column more leading is preferred. Layoutâ&#x20AC;&#x201D;flush right or left or centered impacts readability. The right-hand page shows size and weight, serif and sans serif examples.

Futura, Medium The Bauhaus was the most influential modernist art school of the 20th century. 8

The Bauhaus was the most influential modernist art school of the 20th century. 9

The Bauhaus was the most influential modernist art school of the 20th century. 10

The Bauhaus was the most influential modernist art school of the 20th century. 11

The Bauhaus was the most influential modernist art school of the 20th century. 12

The Bauhaus was the most influential modernist art school of the 20th century. 14

Didot, Regular The Bauhaus was the most influential modernist art school of the 20th century. 8

The Bauhaus was the most influential modernist art school of the 20th century. 9

The Bauhaus was the most influential modernist art school of the 20th century. 10

The Bauhaus was the most influential modernist art school of the 20th century. 11

The Bauhaus was the most influential modernist art school of the 20th century. 12

The Bauhaus was the most influential modernist art school of the 20th century. 14 Franklin Gothic Book, Regular The Bauhaus was the most influential modernist art school of the 20th century. 8

The Bauhaus was the most influential modernist art school of the 20th century. 9

The Bauhaus was the most influential modernist art school of the 20th century. 10

The Bauhaus was the most influential modernist art school of the 20th century. 11

The Bauhaus was the most influential modernist art school of the 20th century. 12

The Bauhaus was the most influential modernist art school of the 20th century. 14

Franklin Gothic Book, Regular The Bauhaus was the most influential modernist art school of the 20th century. 8

The Bauhaus was the most influential modernist art school of the 20th century. 9

The Bauhaus was the most influential modernist art school of the 20th century. 10

The Bauhaus was the most influential modernist art school of the 20th century. 11

The Bauhaus was the most influential modernist art school of the 20th century. 12

The Bauhaus was the most influential modernist art school of the 20th century. 14

THE MODULA R GRID

This image displays how the modular grid has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right.

Technical. the modular grid

( TYPE SPECIFICATIONS ON THIS PAGE ) Headline-14 over 16 Univers 75 Text- 10 over 12 univers 75 Caption-7 over 12 univers 75

10 over 10 univers 75

10 over 14 univers 75

From letf to right: 10 over 10, 10 over 12, 10 over 14 universe 75. Flush left, flush right, centered

10 over 10 univers 75

10 over 14 univers 75

Note:

We chose to only follow the horizontal division in the title and first paragraph. Or priority is good vertical spacing of type and not filling up page.

TYPE ON A PATH & PEN TOOL

EST D

THE CL ASSIC CAS K C O N

BOD EST

THE CL ASSIC CAS K C O ND

BOD

THE CL ASSIC CAS K C O ND

BOD EST THE CL ASSIC CAS K C O

BOD

I IT

ED DR AU

TRADE

MARK

TRADITIONAL CASK

S TR ANGWAYS BREWERY

1 7 78

EST

NGT I D

L D FROM THE NORTH

BITTER

S TR ANGWAYS BREWERY

STR ANGWAYS BREWERY

1 7 78

TRADITIONAL CASK

L D FROM THE NORTH

MARK

TRADITIONAL CASK

TRADE

MARK

1 7 78

L D FROM THE NORTH

ED DR AU

TRADE

S ON

I IT

ED DR AU

M I LD

BITTER NGT I D

STR ANGWAYS BREWERY

1 7 78

TRADITIONAL CASK

I IT

MARK

L D FROM THE NORTH

Left times new roman

TRADE

S ON

Right gill sans mt & ms reference sans serif

ED DR AU

S ON

I IT

NGT I D

S ON

NGT I D

M I LD

TRADEWELL M

A R K E

TRADEWELL M

A R K E

h g ieh

8.JUNE 9.JUNE

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LANOITIDART KSAC

57 srevinu 41 revo 01

EST

RD DENO

Y R E W E R B S Y AW G N

LANOITIDART KSAC

KRAM

NI TG

ONI

N THE CL ASSIC CAS K C O

H T R O N E H T M O R F DLI M

gn ediS i r ae b

BOD P iqu e t t e Av e n u e etroit Michigan SE 8 7ra 7 1 SNO

H T R O N E H T M O R F DLI M

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sabrina U E T T E boccuti F A C T O R YT

ID O alt-j W di SNO

87 71

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m SaturdayA November 20

Creative M

e c na ydo r B a elc

-X

ieh

g AR T

y th do B g ieh

yd r oB a elc

WORD AS IMAGE

The challenge is to visualize the meaning of a word, using only the graphic elements of the letters forming the word, without adding any outside parts.

missing

â&#x20AC;&#x153;Breakâ&#x20AC;? looks like it fell over and broke.

RULE RULE 25

The goal for this word was to make â&#x20AC;&#x153;mountainâ&#x20AC;? look like a mountain range.

OLD STYLE

GENRE POSTERS

Oldstyle types are characterized by greater contrast between thick and thin stroked, and are generally speaking sharper in appearance. The principles of Oldstyle typography includes minimal color, letterforms that are spaced far apart from another, and text that is visually centered.

I made this wedding invitation for my sister, Elizabeth.The font chose for this genre is Adobe Caslon. I used small caps, italic oldstyle figures, semibold small caps, and oldstyle ornaments.

mat t & elizabeth A R E

T Y I N G

T H E

K N O T

please join them

4pm Saturday 22nd November 2013 P I Q U E T T E FAC T O R Y 4 6 1 P iqu e t t e Av e n u e Detroit Michigan

dinner and dancing to follow

3o 29

PR IN TE RS RO W

CH I CAGO -L ITER ATURE FEST 2013 8.JUNE 9.JUNE

PO LK & ST AT E

BAUHAUS

The principles of Bauhaus typography includes sans serif typefaces. Words were given emphasis through contrast in the size and weight of characters. Colors were restricted to black and white and one primary color.

This poster is inspired by Herbert Bayerâ&#x20AC;&#x2122;s design for an exhibition of European applied arts at the Leipzig Grassimuseum in 1927. It uses typography both as text and as pattern.

Principles of De stijl typography design rebelled against all curves. Fonts were squared and the artwork, at times, looked like it was being cut off. Primary colors along with non-colors were used in De stijl typography design.

This poster and typeface is inspired by a graphic designer named Darryl Dhan. The poster incorporates squared lines and primary colors, a true depiction of De stijl typography design. The poster reads â&#x20AC;&#x153;Primary colors are coolâ&#x20AC;?.

DE STIJIL

sabrina boccuti

di SE

ONI

giorno

dopo cogl

IONI

Art Nouveau influenced typography with its ornate features and curved linear patterns.Posters were generally feminine in nature. Asymmetry, or the use of irregular shapes in design, is also an important feature of Art nouveau typography. This poster was inspired by a photograph I took of my friend Sabrina. Her pose and expression reminded me of many Art Nouveau posters I have seen, so I decided to create my own poster out of the photograph. Sabrina’s first language is Italian. Her favorite expression is represented on the poster, “Di sera leoni il giorno dopo coglioni”. It translates as “At night you are a lion, the day after an idiot”.

ART NOUVEAU 35

SWISS

The International style, or Swiss style, emphasizes cleanliness, readability and objectivity. Principles of its design include asymmetric layouts, use of a grid, sans-serif typefaces, and flush left, ragged right text.

This poster is inspired by graphic designer Mike Joyce’s poster for Dead Kennedys. My poster is for Alt- J, an English indie rock band. The graphic in the middle represent the groups symbol, a triangle, which is created by pressing alt-j on a Mac (∆). The band thought a symbol rather than a word could be just as good for a band, but they realized it needed to be able to be pronounced, so they say ‘alt-J’.

thursday

with

the metro

28 march 2013

hundred waters

3730 north clark

all ages

chicago

alt-j 37

50 IMPORTANT FONTS

A Akzidenz-Grotesk | 1896 —Hermann Berthold Avante Garde | 1970-77 —Herb Lubalin, Tom Carnase

B Baskerville | 1757 —John Baskerville Bembo | 1495 —Francesco Griffo Benguiat | 1977 —Ed Benguiat Bodoni | 1798 —Giambattista Bodoni

H Helvetica | 1957 —Max Merdinger Hoefler Text | 1991 —Jonathan Hoefler

C Adobe Caslon | 1990 —Carol Twombly Centaur | 1914 —Bruce Rogers Century Expanded | 1900 —Morris Fuller Benton

I Interstate | 1993-1999 —Tobias Frere-Jones

J D

Jenson | 1996 —Robert Slimbach

Didot | 1784-1811 —Firmin Didot

Eurostile | 1962 —Aldo Novares

L E

Letter Gothic | 1956-1962 —Roger Roberson

Matrix | 1986 —Zuzana LickoGraphic Meta | 1985 - 1991 —Erik Spiekermann Minion | 1990 —Robert Slimbach Mrs Eaves | 1996 —Zuzana Licko

Neutraface | 2002 —Christian Schwartz

N Nobel | 1929 —Sjoerd Henrik de Roos News Gothic | 1908 —Morris Fuller Benton

T Times New Roman | 1932 —Stanley Morison and Victor Lardent Trajan | 1989 —Carol Twombly

O U

OCR | 1968 —American Type Founders Officina | 1990 —Erik Spiekermann Optima | 1958 —Hermann Zapf

Univers | 1957 —Adrian Frutiger

Verdana | 1996 —Matthew Carter

Quadraat| 1992 —Fred Smeijers

W P

Walbaum | 1804 —Justus Erich Walbaum

Palatino | 1948 —Hermann Zapfl

R Rockwell | 1934 —Frank Hinman Pierpont

S Sabon | 1964 —Jan Tschichold Scala | 1990 —Michael Majoor Stencil | —R Hunter Middleton Stone Serif | 1984 —Summer Stone

T Thesis Serif | 1994 —Lucas de Groot Trade Gothic | 1949 —Jackson Burke 39

COLOP HON This book was conceived and created for my Summer 2013 Intermediate Typography class. Here are the project vitals: Designer: Sarah Berger Professor: Ron Kovach Production notes: Paperstock cover:100# two-sided premium matte cover Paperstock text: 60# premium matte digital laser cover Binding: perfect Software: InDesign C6 / Illustrator C6 / Photoshop C6 / Acrobat Pro C6 Typography: Futura, Trade Gothic, Adobe garamond, Univers 75, Times new roman, Gill Sans Research: 3st.com designapplause.com lynda.com sfmoma.org/exhib_events/ events/627 thinkingwithtype.com wikipedia.com

J OURNA L This semester I learned the different genres associated with typography. Here are the nine genres and descriptions: Old Style (1455-1600s) does not incorporate a lot of color in its design. The text is usually centered and letterforms are far apart. Their stress is at an angle. Constructivism (1914s/30s) typography organizes abstract, geometrical elements to make dynamic or visually stable forms.The colors are simple, flat and symbolic. Also photography may be incorporated in the design. De Stijl (1917/30s) design rebelled against all curves. Fonts were squared and at times the artwork looked like it was being cut off. Primary colors along with noncolors were used in De Stijl typography design. Art Nouveau (1890s/ toc) design is organic and painterly. There are many ornate details. The letterforms are elongated, embellished and feminine in nature. Art Deco (1920s/30s) relies on bold design, clear lines, vibrant colors and patterns. Geometric shaped and intense color schemes are prominent in art deco design. Letterforms have a lot of contrast. Bauhaus (1919/33) principles include sans serif typefaces. Words were given emphasis through contrast in the size and weight of characters. Colors were restricted to black, white and one primary color… usually red. International (1950s) style utilizes the grid. Type is tight and recognizes cleanliness, readability, and objectivity. Postmodern (1980) design

placed text and image in an unruly manner. Type was placed with a text box around it. Postmodernism rejects boundaries and uniform, nothing is perfectly places. Urban (1990s) design uses collage and a spray can effect. Terms I learned this semester and definitions are as follows: Widow, a sentence that is broken up between two columns. Orphan, one word this is left at the end of a paragraph. Rivers, gaps in words in a paragraph. Hyphenation, it is a rule not to hyphenate proper noun, only hyphenate three or more letters. Contrast, the thick and thins of letter forms. Tracking, spacing between a word or line of text in a paragraph. Kerning, spacing between to individual letters. Leading, spacing between lines of text (baseline to baseline). Flush left, flush right, when text is flush to either the left or right of a column. Justified, is the typographic alignment setting of text or images within a column or “measure” to align along both the left and right margin.

Ligatures, when to letters are joined together. A “lone ranger” is a page that does not follow the same rules as the rest of the book, it is inconsistent with the rest of the design. Designers and typograhers I learned about this semester are as follows: Neville Brody and Steven Stagelmeister. Herb Lubellen was a calligrapher, he founded ITC. Hermin Miller and Rick Valicenti. Some things to remember: when writing dates out, do not use apostrophes. Here is an example, 1950s. RGB is for web and CMYK is for print. Small cap font allows big cap and little cap.

than the Humanist class. The weight of the garaldes are distributed according to an oblique axis. Examples include Bembo and Garamond. Transitional (15th c) type design includes the letterforms evolving with even more contrast than Humanist Examples of this includes Baskerville and Times Roman. Didones (late 18th c) are considered modern typefaces. There is a very strong contrast in letterforms and they have unbracketed, hairline serifs. Examples of this are Bodoni and Walbaum. Mechanistic (late 18th c) is also called slab serif, which means big square serifs. The weight is the same throughout letterforms. Examples of this are Rockwell and Scala.

Always put copyright on work and remember to spellcheck.

Lineal (late 18th c)combine all typefaces without serifs (called sans-serif, gothic, or grotesque. There is some degree of contrast between thick and thin strokes. Examples of this are New Gothic and Trade Gothic.

Do not have large type with large imagery.

There are four subcategories of Lineal:

Websites to checkout: typeeverything. thirst 3st

Grotesque (18th c) Neo Grotesque (20th c) Geometric (20th c) and Humanist Sans (20th c).

This semester we learned about the Vox system (1967): The classification follows:

Neo Grotesque examples include Helvetica and Univers. They have less stroke contrast and do not have a spurred G or R.

The wider the column, the wider the leading.

En space, the horizontal measurement of half the “m” in a typeface

Humanist (15th c), characterized by an extreme angle with thick bracketed serifs and barely any contrast in letterforms. Examples are Centaur and Jensen.

Em space, the horizontal measurement of the letter “m” in a typeface.

Garalde (15th c) characteristics include a stronger contrast in letterforms

Geometric examples include Eurostyle and futura. These typefaces are sans serif faces constructed from simple geometric shapes, circles and/ or rectangles. The same curves and lines are often repeated throughout the letters.

A Humanist Sans example is Gill Sans. They relate to earlier, classical handwritten monumental roman capitals and lowercase similar in form to the Carolingian script. Calligraphics can be broken down into three catagories, glyphic, script, and graphic. Glyphics predate Humanist. There is usually a greater emphasis on the capital letters in glyphic typefaces, with some faces not containing lowercase. They usually have small triangular serifs. Script evokes the formal penmanship or cursive writing. They have strong slabs and letters can often be connected to each other. Graphics are based on handdrawn originals which are slowly written with either a brush, pen or pencil. They are not intended for body text but instead display a headline purpose.